Page 27 |
Previous | 27 of 157 | Next |
|
|
small (250x250 max)
medium (500x500 max)
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
Hickey, Dave. “Edward Ruscha: Twentysix Gasoline Stations,
1962—Photographer.” Artforum, January 1997.
http://www.americansuburbx.com/2009/10/theory-edward-rusc
ha-twentysix-gasoline.html
2 Ruscha created a limited and signed edition of 100 for his first
printing, but quickly realized that this standard approach to edi-tion
artwork was antithetical to his goal of creating a more demo-cratic
artwork.
3 This quote and other details about Hugo’s background and train-ing
from Hoffberg, Judith A. “Joan Hugo, Special (Art) Librarian:
The Art of Anticipation.” American Libraries, June, 1976, pp. 370-71.
4 Ibid, p. 370.
5 Ibid.
6 Unsigned draft on Otis Art Institute letterhead dated October 12,
1972, evidently copy for the reverse of the poster for Possibilities. A
note from the Ben Maltz Gallery archives indicates that the exhibi-tion,
which was open for 23 days in November and December,
1972, attracted 1,524 visitors.
7 Hugo, Joan. “Artists’ Books: Primers of Visual Literacy.” The
Dumb Ox, No. 4, Spring, 1977, p. 23.
8 Ibid.
9 Lloyd, Gary. “A Talk with Ed Ruscha.” The Dumb Ox, No. 4, p. 7.
Twelve years earlier Ruscha noted in the context of an interview
for Artforum, “. . . I am not really interested in books as such. . . .
my book is more like a collection of ‘readymades.’” (quoted in Lip-pard,
Lucy, R., ed. Six Years: The Dematerialization of the Art Object
from 1966 to 1972. Berkeley: UC Press, 1973, p. 12.
10 From the catalogue Artwords & Bookworks, The Los Angeles Insti-tute
of Contemporary Art, 1978 [unpaged].
11 Ibid.
12 Catalogue, The Artist’s Book, Gerry McAllister, exhibition curator.
Both Joan Hugo and Judith Hoffberg are thanked for their help
with the exhibition.
13 “ . . . the many exhibitions that appeared in California in 1977
were valid, honest and enlightening, but most of the shows were a
mixture of one-of-a-kind and a few multiples.” “The Museum of
the Mailbox,” Artwords & Bookworks catalogue (unpaged).
14 Klima, Stefan. Artists Books: A Critical Survey of the Literature. New
York: Granary Books, 1998, p. 12.
15 Ibid, p. 22.
16 Ibid, p. 23. Phillpot’s definition of artists’ books vacillates over
the ensuing years.
17 True to the theme of mail art, a mailing address for every artist,
periodical and organization was included in the checklist.
18 Archives of this exhibition are held in the Special Collections li-braries
of both Otis the University of Iowa. It is believed that
Iowa’s collection was donated sometime in the 1980s by Alterna-tive
Traditions in the Contemporary Arts (ACTA) (email, Novem-ber
19, 2013). Estera Milman, founder and director of ACTA, was
unable to verify this (email December 4, 2013).
26
Object Description
Description
| Title | Page 27 |
| Full Text of PDF | Hickey, Dave. “Edward Ruscha: Twentysix Gasoline Stations, 1962—Photographer.” Artforum, January 1997. http://www.americansuburbx.com/2009/10/theory-edward-rusc ha-twentysix-gasoline.html 2 Ruscha created a limited and signed edition of 100 for his first printing, but quickly realized that this standard approach to edi-tion artwork was antithetical to his goal of creating a more demo-cratic artwork. 3 This quote and other details about Hugo’s background and train-ing from Hoffberg, Judith A. “Joan Hugo, Special (Art) Librarian: The Art of Anticipation.” American Libraries, June, 1976, pp. 370-71. 4 Ibid, p. 370. 5 Ibid. 6 Unsigned draft on Otis Art Institute letterhead dated October 12, 1972, evidently copy for the reverse of the poster for Possibilities. A note from the Ben Maltz Gallery archives indicates that the exhibi-tion, which was open for 23 days in November and December, 1972, attracted 1,524 visitors. 7 Hugo, Joan. “Artists’ Books: Primers of Visual Literacy.” The Dumb Ox, No. 4, Spring, 1977, p. 23. 8 Ibid. 9 Lloyd, Gary. “A Talk with Ed Ruscha.” The Dumb Ox, No. 4, p. 7. Twelve years earlier Ruscha noted in the context of an interview for Artforum, “. . . I am not really interested in books as such. . . . my book is more like a collection of ‘readymades.’” (quoted in Lip-pard, Lucy, R., ed. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: UC Press, 1973, p. 12. 10 From the catalogue Artwords & Bookworks, The Los Angeles Insti-tute of Contemporary Art, 1978 [unpaged]. 11 Ibid. 12 Catalogue, The Artist’s Book, Gerry McAllister, exhibition curator. Both Joan Hugo and Judith Hoffberg are thanked for their help with the exhibition. 13 “ . . . the many exhibitions that appeared in California in 1977 were valid, honest and enlightening, but most of the shows were a mixture of one-of-a-kind and a few multiples.” “The Museum of the Mailbox,” Artwords & Bookworks catalogue (unpaged). 14 Klima, Stefan. Artists Books: A Critical Survey of the Literature. New York: Granary Books, 1998, p. 12. 15 Ibid, p. 22. 16 Ibid, p. 23. Phillpot’s definition of artists’ books vacillates over the ensuing years. 17 True to the theme of mail art, a mailing address for every artist, periodical and organization was included in the checklist. 18 Archives of this exhibition are held in the Special Collections li-braries of both Otis the University of Iowa. It is believed that Iowa’s collection was donated sometime in the 1980s by Alterna-tive Traditions in the Contemporary Arts (ACTA) (email, Novem-ber 19, 2013). Estera Milman, founder and director of ACTA, was unable to verify this (email December 4, 2013). 26 |
